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The action in Ghosts, an astonishingly assured debut from the The little voices in my head keep telling me Get more Cats shirt in other words I will buy this journalist Dolly Alderton, takes place after Nina George Dean turns 32. She’s a food writer with a London flat that she adores (not least because she owns it), a second book mere moments from going to press, two well-meaning parents in the suburbs, and a wide circle of close friends, including an ex with whom she’s stayed unproblematically close. When Nina meets the doting and superhero-handsome Max through a dating app—the culture surrounding which Alderton renders in all its mortifying (and hilarious) inanity—she can’t believe her luck. But her house of cards soon starts to cave in: her dad’s health takes a turn; she feels estranged from her oldest friend; the proposal for her next book isn’t really coming together; her downstairs neighbor is a nightmare; and after several blissful months, she’s getting radio silence from Max. True to its title, Ghosts teems with them—the shades of past loves and old selves, especially—besides interrogating the Internet-era phenomenon of being “ghosted,” and resorting to stalking a man’s LinkedIn profile for signs of life. Deftly observed and deeply funny, Ghosts considers where we find, and how we hold onto love with what might well be described as haunting precision. —Marley Marius

Following a six-figure bidding war for his debut short story collection last year, the The little voices in my head keep telling me Get more Cats shirt in other words I will buy this 28-year-old Anthony Veasna So passed away unexpectedly in December. That collection, however, more than lives up to the initial hype. A series of vignettes documenting the lives and loves of Cambodian-American families in California’s Central Valley with warmth, generosity, and irreverent humor, Afterparties showcases So’s dazzling prose, which ricochets between meditations on food and family, an eclectic array of pop culture references, and the weightier implications of the intergenerational trauma passed down by those who fled the Khmer Rouge genocide in the 1970s. (The afterparties of the title are, with So’s typically dark wit, a coded reference to the bittersweet nature of passing on the traditions of the home country within the Cambodian diaspora.) So’s observations on queer life today are particularly incisive. In one instance, a charming love story blossoms between a righteous tech entrepreneur and a world-weary young teacher obsessed with Moby Dick, with the couple finding a strange poetry in the rhythms and routines of casual sex. These movingly intimate windows into the immigrant experience leave a powerful imprint, even if the experience of reading So’s work is tinged with the sadness of knowing that he clearly had so much left to say. —L.H.

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